This composition is dedicated to my late mother Nylsa Luzzi Rosauro, who played the piano and instilled in me a love of music along with other beautiful things.

I) THE CONTINENT: My family is from Rio Grande do Sul (the southern most Brazilian state). Movement 1 is based on the rhythm of Guarania. Guarania is one of the most popular styles from this region of South America, called Saint Peter’s Continent by the early settlers. After an energetic and virtuosic introduction the first part of theme A is presented with chords and melody that suggest tension and instability. The mood created evokes the emotions of a mother constantly worried over the well being of her children. During the second part of theme A this tension is resolved and a new melody that is presented (*Leitmotiv 1) will be used throughout the piece. After the bridge theme B (*Leitmotiv 2) is introduced and like Leitmotiv 1 it will reemerge in other movements. Following an elaborate solo interlude on the vibes and marimba, themes A and B are restated and the same chromatic material from the introduction closes the movement.

II) IN HEAVEN: Movement II starts and finishes with two canticles of the catholic church “In Heaven” and “Heavenly Mother”. I composed this music while taking long walks through the city of Porto Alegre, RS (Brazil) during the last weeks of my mother’s life. The marimba cadenza has roots in the prayer “Gloria ao Pai” (Glory to the Father) and was inspired by an old choral composition of mine.

III) THE JOURNEY: Movement III celebrates life. A joyful introduction preceeds the lively main theme in a 12/8 time signature. After the main theme exposition the bridge gives way to Leitmotiv 2 leading to a musical clmax. A capacious cadenza allows the soloist to explore variations on Leitmotiv 1 with intermittent orchestral accompaniment. Movement III concludes with a recapitulation of the central themes and motives followed by primary rhythmic passages from the introduction.

IV) FINALE: The Finale springs from variations of Leitmotiv 1. The shafts of the vibraphone mallets are employed to suggest the sounds of music boxes and church bells. The work concludes with a gradual decrescendo of seven long notes bowed on the vibraphone. The final note fades away like a last breath.